Amy Millan - Honey From The Tombs

From the first time I heard Amy Millan’s voice in a song by her main band Stars, I was hooked.

It was simple but elegant - rehearsed but not overdone. It was remniscient of early Rachel Haden signing backup for The Rentals and the soothingly cryptic D’arcy, the old bassist for Smashing Pumpkins - both of which have always been welcome voices in my headphones. In her solo debut, though, Amy has shown herself to be quite the aspiring songwriter, relaying twelve tracks while throwing in some nomadically recorded material that dates back two years.

In a very strong debut solo effort, Amy offers us a voice of reason and reflection in both the mistakes and accomplishments that this life brings. Most popular from this album, thus far, is the track “Baby I” which unfolds with a folksy/country twang and feel, spelling out some break-up/make-up relationship issues in a very straightforward and honest tone:

“Baby you turned a clear night sky into a dark, dark hole / And when I see a sunset now I’m just looking at a painting in a cheap motel.”

The song addresses the idea that when two people are in a serious relationship, a break-up does not really signify anything and that even though it is easy to say, getting on with life can be difficult as a void is felt. Anyone who’s been through any sort of relational woe can hear this song and relate well as the driving acoustic guitar, and lazing but melodic vocals, guide us through to the dark but truthful terrain.

From the majority of the songs on this album, Amy’s lyrics show that her community is no stranger to the bottle. This can be seen in a few song titles (“He Brings Out the Whiskey in Me” “Come Home Loaded Roadie”) and in most of the lyrics, but the way she says the word “whiskey” would make a sober man crave the woody flavour of an aged southern blend on ice. I’m not writing this to endorse overzealous drinking habits, but in her style of writing and in the feel of her musical landscape, whiskey just seems to be something that comes with the territory, thus adding another layer of realism to her art. Her songs are instrumentally eclectic, showcasing many string instruments such as banjoes and mandolins, which only truly adds more flavour to the whole dish.

I’ve listened to this album a few times now, trying to find something I don’t like about it…and there just isn’t anything there. This acoustic-driven album is one for any collection and will help you get through a lazy, rainy afternoon spent indoors. We can only hope that Madame Millan will have more solo material in the future. This will be the first perfect mark I have ever given out to a reviewed album and coming from a music snob, that’s a lofty height to attain.

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